It was fashionable in the 19th century to make orchestral arrangements of Schubert's songs. These ranged from the faithful to the fancifully elaborate, and both extremes are represented on this fascinating survey, beautifully delivered by mezzo Anne Sofie von Otter and baritone Thomas Quasthoff, and accompanied with wonderful musicality by Claudio Abbado and the COE.

. . . these favorite Schubert songs, loved by millions over the centuries, sound just wonderful with an orchestra . . . I'm hooked! And I think you will be too. Part of the persuasive power of this recording is the singers, of course. Both of them seem ideal.

Record Review /
Donald R. Vroon,
American Record Guide / 01. July 2003

(Otter) 'Die Forelle' is deftly timed and coloured, 'Geheimes' shyly conspiratorial, 'Gretchen' perfectly judged in its mounting ecstatic agitation. Quasthoff, with his warm, noble baritone, is just as compelling, with an impulsive 'An Schwager Kronos' and an extraordinarily tender, mesmeric performance of 'Memmon'.

This is a fascinating selection of Lieder (songs with piano) orchestrated by Brahms, Berlioz and Britten, among others ... Anne Sofie von Otter and Thomas Quasthoff bring panache to the project.

Record Review /
Warwick Thompson,
Classic FM (London) / 01. July 2003

This is a fascinating selection of Lieder (songs with piano) orchestrated by Brahms, Berlioz and Britten, among others. It's an ear-opener: Berlioz's "Erlkönig" sounds like the opening of Wagner's "Walkyrie". Anne Sofie von Otter und Thomas Quasthoff bring panache to the project . . .

Record Review /
Warwick Thompson,
Classic FM (London) / 01. July 2003

Thomas Quasthoff . . . shows again why he is one of the world's greatest Schubert singers, with a warmth and expressiveness in each word that continue to amaze. Claudio Abbado's accompaniments are marvelous: he brings out detail but never overwhelms the singers.

Record Review /
David Weininger,
The Boston Phoenix / 25. July 2003

Under the baton of Mr. Abbado, who has been a longstanding patron of the orchestra, the musicians play a host of oddities with the same conviction and tonal allure they have so often brought to great music, turning doctored Schubert into something beyond a curiosity.

Thomas Quasthoff . . . sings these orchestral versions as straightforwardly, effectively, and communicatively as he does piano accompanied Schubert. . . . An Silvia is charming and well shaped; Im Abendrot is a standout-beautifully, simply, and compellingly projected [Otter]. . . . The recorded sound is very good . . . the subtleties of color and dynamics of which this extraordinary singer is capable . . . The orchestral playing is very fine, the conducting very much to the point.